What Remains
Still from Salón De Actos (2026). Courtesy Alejandro Moreno Jashés.
EXHIBITION DETAILS: 📍 Onassis ONX, 390 Broadway Floor 4, New York, NY 🗓️ September 25 - October 4, 1-7PM (Closed Monday and Tuesday)
Abandoned theaters are given a speculative digital afterlife. A sculpture attempts to translate itself into code. Ice forms, melts, and becomes language. Across the inaugural Fall Exhibition at Onassis ONX New York, technology appears not as a neutral tool, but as a material and cultural force that translates, distorts, and reanimates the worlds it encounters. Such an elusive force can both bring us together and set us apart, connecting and separating in equal measure.
Presenting seven artists from across the ONX community, their creative practices dwell in unstable spaces between physical and digital experience, revealing moments when translation breaks down, perception shifts, and familiar forms acquire new meanings. Rather than resolving these tensions, the artists use them to explore the gaps between an object and its data, a body and its virtual image, an environment and the systems designed to interpret it.
Together, these works reveal through their technological interventions unstable fields of relations among subjects, machines, environments, memory, and power. There is no singular vision of the future. Instead the exhibition presents multiple ways of inhabiting the present by making hidden infrastructures perceptible, reactivating overlooked histories, proposing new forms of encounter, and altering how we understand our place within a rapidly changing world.
Ugo Arsac, Katábasis Making its U.S. debut after winning Best Immersive Work at the 2026 Cannes Film Festival, Katábasis is an interactive documentary mapping New York's underground labyrinth through the myth of katábasis—a descent into the underworld. Created through three-dimensional scans and documentary testimony, the work leads participants through tunnels, transit systems, service coordinators, and other subterranean spaces to give voice to those hidden in its depths. The experience shifts perspective, revealing the bowels of the metropolis at the heart of a polarized American society.
The presentation of this work in New York is supported by Villa Albertine’s 2026 French Immersion Exhibition Grant.
Chloe Alexandra Thompson, Untitling (field relations) Untitling (field relations) is a time-based artwork that reimagines acoustic ecology as a practice of Indigenous repair, asking what becomes possible when ceremony and song are reinstated as necessary to the continued life and survival of Turtle Island. Drawing from affects recordings of land, satellite imagery, and embodies movement, the work positions ceremony as an active repair of landscapes altered through colonial extraction.
Margarita Athanasiou, Mercury & Sulfur Mercury & Sulfur is a feature-length film essay that explores the connections between alchemical history, Jungian psychoanalysis, and the rise of modern fascism. Presented as a stream-of-consciousnessnarrative, the exhibition's first two chapters use an internet-informed visual language of collage and animation displayed in a vertical format to mimic a smartphone or page of a book. Through this hyperlink style presentation, rapidly chaining facts make links between ancient folklore, occult fascism, and modern technofeudalism.
Alejandro Moreno Jashés, Salón De Actos Awarded the Technological Innovation Prize at CRTIC Fest 2024, this territorial dramaturgy is a five-part series of expanded scenic films which connect five monumental abandoned theaters located in former mining compounds in the Atacama Desert, Chile. The theatrical version of these buildings merges physical ruins with virtual reality, photogrammetry, 3D graphics, and motion capture to turn viewers into immersed participants exploring memory and oblivion. The project raises varied questions: Can oblivion be represented as an active form? Who is the audience for what is no longer perceived? What theatrical language emerges when an abandoned theater behaves like a living organism, and its memory is processed through technological language?
Jiabao Li, CryoScapes CryoScapes is a self-destroying, AI-driven sculpture that uses a custom 3D ice printer to explore water’s morphology. Developed during an Arctic Circle residency in Svalbard, the system tracks the freezing process in real time, translating visual shifts into Haiku-inspired poetry where every line carries an environmental cost linked to glacial melting. Co-created with its environment, the artwork is continuously reshaped by local humidity, temperature, and air quality, ensuring that no two iterations are ever identical.
Ashley Zelinskie, Reverse Abstraction This ongoing series of sculptures examines the different languages through which humans and computers perceive objects. Physical sculptures anchored along a long wall are covered in hexadecimal and binary code—allowing a computer to read that code and “see” the object that humans see in physical space. At the far end, the generative piece runs the recursion loop in real time: scanning, encoding, embedding, re-scanning, endlessly. Each iteration drifts further from the original.
Huntrezz Janos, Dis-ARMOUR-Machine This Afrofuturist, 3D-printed mech suit serves as a wearable sculpture and living symbol of protest, poetry, and performance. Expanding on the artist’s past works that appeared in the Athens Biennale and the REDCAT NOW Festival, the project also features an interactive website and augmented reality, allowing viewers to use a filter to virtually wear the armor.
ABOUT ONASSIS ONX Onassis ONX is the Onassis Foundation’s global platform for art and advanced technologies. As a catalyst for digital cultures, Onassis ONX empowers creatives who build transformative works, elevating their practice across ideation, development, presentation, and distribution through studios in Athens and New York. This holistic engagement throughout an artistic process enables world building at the frontiers of AI, immersive, spatial computing, gaming, and other emergent time-based media. Onassis ONX cultivates and engages with a network of institutions and industries ready to respond to these new forms of creative expression and meaningfully engage with audiences around the world.
ABOUT ONASSIS FOUNDATION The mission of the Onassis Foundation, founded by Aristotle Onassis in 1975, is human-centered: to shape and shake society through new ideas, bold discussions, and unexpected connections in Health, Education, and Culture.
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Through Onassis Stegi (‘stegi,’ a Greek word for ‘roof’ or ‘shelter’) an emblematic venue in Athens, the Onassis Foundation encourages local and international artists to thrive and sparks conversations that open up new ways of thinking. Since 2010, it has showcased 15,000 theater, dance, music, and visual arts performances, exhibitions, and events.
Aiming to increase the visibility of Greek artists, the Onassis Stegi Touring Program has brought more than 100 productions and co-productions to over 200 cities across 72 countries. In 2025, the Onassis Foundation launched Onassis Ready, its new arts venue in Athens. Onassis Stegi’s web radio, STEGI.RADIO, broadcasts 24/7, highlighting new music and ideas, while Onassis AiR supports artistic research and practice. As an engine for art and advanced technologies, Onassis ONX empowers artists creating genre-defying works through its hubs in Athens and New York City. The Onassis Foundation, with more than 50 years of pioneering spirit and boldness, approaches diverse initiatives in Health, Education, and Culture with a holistic strategy and acts as a catalyst for social progress with a clear vision: being consistently innovative and creatively disruptive.